This thesis is an inquiry into musical interpretation and performance. It builds on Peter Spissky’s practice as a professional baroque violinist. Qualitative analysis of the video documentation of his individual practise, rehearsals, and concert performances is the core method of the project. Here, the roles of a musical score, of performance practice, instruments, and the human body in musical creativity are explored. The analytical perspective builds on the theory of embodied music cognition, according to which, musical perception is multi-modal and grounded in the body. If we understand music as movement and recognize that baroque music is based on mimetic gestures, dance, and poetry, then it may be conceivable that a performance interpretation of a baroque score can be drawn from the details of embodied knowledge of a musician. Therefore, the aim of this project is to explore the body as
a) a factor in the interaction with the instrument
b) a factor in the interpretation of a composition
Two research questions further define these aims:
How can the body movement of a violinist inform a performative interpretation?
Can the qualities of mimetic gesture, dance, and poetry be assimilated into baroque violin bowing through an embodied interpretation of a musical score? (“Abstract”, Ups and Downs, Violin Bowing as Gesture, www.upsanddowns.se)
Supervisor| Stefan Östersjö & Hans Hellsten
Opponent | Professor Richard Wistreich
Experience also Peter Spissky’s doctoral concert on Sunday, October, 8th, at 18.00 at S:t Andreas church, Malmö.